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caskie

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  1. It might be helpful to clarify the pedal flue provision at Manchester Town Hall. From 1877 to 1893 there was no 32' flue tone at all. The 'real' Pédale stops were simply two 42-note ranks: a Contrebasse 16' extended to a Flûte basse 8', and a Bombarde 16' extended to a Trompette 8'. These were augmented by no less than three of the Grand Orgue stops being duplexed onto the Pédale as well: the GO Bourdon 16' was available on the Pédale as a Soubasse 16', the GO Bourdon 8' (wholly independent from the Bourdon 16') was available on the Pédale as a Bourdon Doux 8', and the GO Violoncelle 8' was
  2. Lovely to read all this Colin! For anyone interested, the full spec of this organ, including mixture compositions, may be downloaded from http://www.nicholsonorgans.co.uk/pf/great-malvern-priory/.
  3. I hope I can help clarify the recent history of this instrument. When the organ was built in 1936 (not 1937 as is stated on the RBC advert), the pipework was all made and voiced by Hermann Eule of Germany but everything else was made by Hill, Norman & Beard. The organ has mechanical action for the manuals, pedals and all couplers, but charge pneumatic slider actions and stop actions. It was a wedding gift to Lady Susi Jeans from her husband, the eminent physicist Sir James Jeans and was installed in their home (Cleveland Lodge) in Dorking. As is well-known, the Jeans' home eventual
  4. The website had sustained a mobile redirection hack - it was working fine for desktop browsers, but mobile and tablet browsers were being redirected. Perhaps someone hoping to inspire us to to leave the country! Hopefully fixed now. Andrew Caskie Nicholson & Co. Ltd
  5. Two forthcoming performances of Messiaen - La Nativité du Seigneur, by Andrew Caskie (Palmerston Place Church, Edinburgh). Both with free admission and with readings. All welcome! Saturday 28 November, 7.30pm - Dunfermline Abbey (http://www.npor.org.uk/NPORView.html?RI=C01096) Saturday 5 December, 7.30pm - Palmerston Place Church, Edinburgh (http://www.npor.org.uk/NPORView.html?RI=D03129)
  6. The St John's Keswick organ is indeed lovely, but it isn't a patch on the glorious 1906 II/18 H&H in Whitehaven URC, 30 miles away on the Cumbrian west coast. Not being in such a tourist spot it isn't so widely known, but it's the finest small Romantic organ I've ever played. Every stop on it is voiced to perfection, and playing it feels like driving a vintage Bentley. Specification was designed by both Lt Col Dixon and Alfred Hollins - see spec and pics at http://www.npor.org.uk/NPORView.html?RI=N03535.
  7. caskie

    Swell pedals

    St Bees ('Father' Willis) has what might best be described as pneumatic ratchet expression pedals for both Swell and Solo boxes. They are off to the RH side. Like a ratchet swell they are weighted to return to the top (closed) position, and one depresses the pedal to open the box. To get it to remain at any position other than closed, you have to remove your foot from the pedal very quickly: the idea is that a pneumatic 'ratchet' then 'catches' the pedal and holds it at that position. To release it, you depress v slightly and then control its inherent return upwards, just like with a mechan
  8. caskie

    Swell pedals

    All three Infinite Speed and Gradation pedals have been restored and retained at the McEwan Hall, Edinburgh (1897 Hope-Jones; 1953 Willis; 1980 Rushworth & Dreaper; 2014 Forth Pipe Organs) during the major restoration of that instrument last year - http://www.npor.org.uk/NPORView.html?RI=C01272. Prior to the restoration, the shutter positions were indicated by Smith fuel gauges (complete with E and F!) but these have been replaced by horizontal white LED strips.
  9. There are two such organs around Edinburgh, one of which has the cancel feature Colin Pykett mentions. The Portobello instrument is at present available for rehoming - PM if interested. St James', Portobello (1934) - http://www.npor.org.uk/NPORView.html?RI=C01253 Granton Parish Church (1936) - http://www.npor.org.uk/NPORView.html?RI=N11946 Both NPOR surveys have lots of photos.
  10. Here’s a few Grace, Harvey – Three Psalm-Tune Postludes Harwood, Basil – Two Preludes on old English Psalm Tunes, Op. 52 Howells, Herbert – Psalm Preludes, two sets of three Kee, Cor - Inleidingen tot de Psalmen (contains 20 preludes) Leighton, Kenneth – Martyrs, Op. 73 (duet) Maxwell Davies, Peter – first of ‘Three Organ Voluntaries’ is titled Psalm 124 Milner, Arthur – Meditation on Psalm 21 Milner, Arthur – Two Meditations on Psalms Reubke, Julius – Sonata on Psalm 94 Sweelinck, Jan Pieterszoon – Psalms 116 and 140 Whitlock, Percy – Seven Sketches on Verses from the Psalms Wo
  11. The chorus mixtures at Stirling were mucked around with in the 1970s and to my mind really spoil the ff choruses, sticking out like sore thumbs. But if you keep it quiet there's lots of good stuff to explore. The R&D in the Reid Memorial Church, Edinburgh (http://www.npor.org.uk/NPORView.html?RI=N11959) has not been tweaked and is therefore, to my mind, more enjoyable to play. It doesn't have the Burmese Gong that Stirling does, however! Anyone who wants to know more about the lovely organs in Edinburgh ought to buy the splendid 'Organs of Edinburgh' book published three years ago o
  12. Apologies for resurrecting an old thread, but I've just come across it having recently learned this fine piece. Although the respondents are correct to say that the octave couplers would typically read through (unless there were separate octave/sub octave inter-manual couplers, in which case they wouldn't), the question is academic, as it's a misreading of the score were this to occur. The opening section is antiphonal between the Swell strings (with sub octave) and Choir diap/dulciana (no Sw to Ch). One is primed at the start to prepare an 8' flute on the Great, with Sw to Great drawn, but
  13. Music for a Summer Evening Organ recital by Andrew Caskie Tuesday 4 June 2013, 7.30pm (free admission) Palmerston Place Church, Edinburgh EH12 5AA Veni Creator – Nicolas de Grigny (with plainchant sung alternatim by men from the choir) Meditation: Love Unknown – Francis Jackson Berceuse à la mémoire de Louis Vierne – Pierre Cochereau, transc. F. Blanc Trio Sonata No. 6 in G major BWV 530 – Johann Sebastian Bach Free Fantasia on O Zion, haste and How firm a foundation – William Bolcom Mon cœur s'ouvre à ta voix (from Samson et Delilah, Op. 47) – Camille Saint-Sa
  14. John Kitchen is playing Alan Gray's Sonata No. 2 in A flat this Saturday evening in Edinburgh - 7.30pm at Reid Memorial Church. Details at http://www.edinburghorganists.org/Documents/ESO%20recital%20diary.pdf
  15. Hi Can anyone offer a definitive view on the articulation of the first two quaver chords in Henry Smart’s Postlude in D? I have the piece in three editions; one has the quavers slurred, one has them unmarked, and the other edition has them staccato. I prefer the latter (so that the emphasis is more definitely on the first crotchet chord), but in a couple of recordings I’ve heard, both performers have gone for the slurring. Thanks for any thoughts.
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